this week in art

MET MUSEUM PRESENTS: THE RETURN

Avatar Adam offers insight into the reconstruction of Tullio Lombardo’s Renaissance Adam in interactive performance installation at the Met (photo by twi-ny/mdr)

Metropolitan Museum of Art
Venetian Sculpture of the Renaissance (Gallery 504)
Grace Rainey Rogers Auditorium
1000 Fifth Ave. at 82nd St.
Daily through August 2, free with recommended admission $12-$25
212-535-7710
www.metmuseum.org
the return slideshow

A museum disaster, a literal “fall of Adam,” has led to one of the Met’s most intriguing new pieces and a surprising venture into both digital and performance art. In October 2002, Tullio Lombardo’s late-fifteenth-century marble statue of Adam collapsed to the ground and shattered into more than two hundred fragments, its pedestal giving way to its half-ton weight. In reconstructing what Met assistant curator calls “the most important sculpture from Renaissance Venice to be found outside that city today,” the museum employed digital technology that new media artist Reid Farrington has transformed into an educational and very entertaining interactive two-part installation. Farrington has previously used multiple screens and live performers in such presentations as Tyson vs. Ali (a fictional bout between the two champions), The Passion Project (reimagining Carl Theodor Dreyer’s 1928 film, The Passion of Joan of Arc), and Gin & “It” (a complex behind-the-scenes staging of Alfred Hitchcock’s Rope). Now he brings the restoration of “Adam” back to life with the interactive performance installation “The Return.” In the specially designed Gallery 504, “Adam,” which was commissioned for the tomb of Venice doge Andrea Vendramin, stands atop a new base, an apple in his left hand, his right hand clutching a bare branch of the Tree of Knowledge. Also in the room is a large-scale two-sided monitor that is like a supersized iPhone in which an animated Biblical Adam and a digital avatar of the sculpture discuss free will, determinism, God, compression and shearing, and other lofty subjects with an actor-docent (Cara Francis, Catherine Gowl, or Stephanie Regina), who navigates the performance by focusing on the museum’s groundbreaking reconstruction of the sculpture in brief, ever-changing explanations of specific parts of the sculpture, including the elbow, the torso, and the upper tree trunk. Visitors are encouraged to interact with the digital performer and the docent, so every performance is slightly different.

Biblical Adam examines his marble representation in Reid Farrington’s innovative “The Return” (photo by twi-ny/mdr)

The Adams are sometimes wandering a van Gogh-like field and at other times immersed in a digital realm inhabited by falling 0s and 1s. The movement of the Adams is performed by an actor (Roger Casey, Jack Frederick, or Gavin Price) in a motion-capture suit in the nearby Grace Rainey Rogers Auditorium, where everyone is invited to watch him in action, surrounded by numerous monitors, including one showing what is being seen on the screen in the gallery, controlled by a pair of technicians. The Adams and the docent also delve into the nature of sin and the meaning behind the fig leaf while relating Adam’s physical fall from its podium to his metaphorical fall from grace in the Bible and comparing God’s creation to that of the artist. (The script was written by Farrington’s wife, playwright Sara Farrington.) Make sure to check out both sides of the monitor, which reveal the two Adams’ front and back. “The Return” is a fascinating way to explore a work of art; in this case, it came about because of an accident, but it could very well be the next wave of how we look at and think about art. An appendage to the recent exhibit “Tullio Lombardo’s Adam: A Masterpiece Restored,” which closed on June 14, the performance, which playfully evokes the 1982 sci-fi classic Tron, takes place daily from 12:45 to 2:15, as well as from 4:30 to 6:00 on Fridays and Saturdays. Admission is free; you can also follow all the fascinating action online via the Met’s live stream.

NEW YORK CITY POETRY FESTIVAL

You can relax with a wide range of poetry at fifth annual festival on Governors Island (photo by twi-ny/mdr)

Governors Island
Colonels Row
July 25-26, free (donation suggested), 11:00 am – 6:00 pm
newyorkcitypoetryfestival.com
new york city poetry festival slideshow

The fifth annual New York City Poetry Festival, which continues Sunday on Governors Island, honors Gotham’s literary heritage with three stages named after a trio of iconic landmarks, the Algonquin, the White Horse, and Chumley’s. Poets from dozens of publishing houses, university presses, and nonprofit organizations read their works, in addition to the open mic Ring of Daisies and other places where poetry just pops up. There are lots of booths, a food truck, and a beer garden that declares that “the psychiatrist is in.” Walking across the big field, you can listen as one poem from one location morphs into one from another and then one from another in a kind of audio rainbow of words and expression. You can make visible poetry with Rachel Ossip’s interactive “to touch” installation, add your own epitaph to Christine Stoddard’s “Word Graveyard,” get a word as part of Maya Stein and Amy Tingle’s Tandem Poetry Project, and hang out with Karl C. Leone’s “Dionysia: A Bacchic Ode” (featuring art by Alexis Myre, music by Larkin Grimm, and live performances by Daniel Benhamu, Aron Canter, Nettie Chickering, Jochem le Cointre, Eli Condon, Mateo d’Amato, Hailey Kemp, Rafeh Mahmud, Siever O’Connor-Aoki, Olivia Porter, Vanessa Rose, and Michelle Rosen). Be sure to also check out building 407b for the Children’s Poetry Festival, Amy Bassin and Mark Blickley’s “Dream Streams,” the analog participatory “Typewriter Project: The Subconscious of the City,” and the Poetry Brothel, where you can get an extremely private one-on-one reading for a small fee. As an added bonus, stop by LMCC’s “(Counter) Public Art, Intervention & Performance in Lower Manhattan from 1978-1993” exhibition at the Arts Center at Governors Island to see video of John Kelly’s Love of a Poet piece from 1990.

LAURIE FRICK: WHO ARE YOU? WHAT DAY IS IT?

Laurie Frick, “Daily Time Slices Aug 25,” laser-etched wood blocks, pigment and aluminum on alumalite, 2014 (© Laurie Frick)

Pavel Zoubok Gallery
531 West 26th St. between Tenth & Eleventh Aves.
Through July 25, free
212-675-8672
pavelzoubok.com
www.lauriefrick.com

Earlier this year, the Guggenheim’s “On Kawara — Silence” retrospective highlighted the fascinating oeuvre of the Japanese Conceptual artist who detailed nearly every aspect of his life, keeping track of what time he woke up, who he saw, where he went, and what he did via notebooks, postcards, newspaper articles, telegrams, and date paintings. Former tech executive and engineer Laurie Frick takes that decidedly analog view of existence into the social-media-dominated twenty-first century with “Who are you? What day is it?,” an involving series of works that use data mining to create colorful depictions of time and personal experience by using rectilinear units of different color and size to indicate various activities and lengths of time spent on them. In “Time-slices,” the Austin- and New York City-based artist adapts data compiled by microbiologist Ben Lipkowitz, who exists on a twenty-six-hour sleep cycle, into wall sculptures of grids of small blocks of multiple sizes and hues arranged on shelves that suggest a kind of library. Another series, “7 Days,” follows the lives of a man and a woman in strictly linear fashion, forming a collection of narrow, vertical totems that evoke measuring sticks, taking stock of what these two people do on a daily basis for one week. And in “Leather Blocks,” Frick maps her own use of technology through Manictime, visualizing it as hundreds of tiny blocks winding across a wall. Using physically measurable objects that evoke such antique information technologies as children’s blocks and books on a shelf or even yardsticks, she simultaneously calls to mind the immaterial square pixels and blocks of digital information that our various apps use to analyze and show us our data. “Your job as an artist is to really pay attention to yourself, and sometimes those observations get eventually explained by science,” Frick said in a 2013 TEDx Talk in Austin. Frick, whose free FRICKbits app, “the ultimate data-selfie,” gives people the opportunity to “take back your data and turn it into art,” has done just that with “Who are you? What day is it?” First and foremost, it grabs your attention with its three-dimensional patterns and eye-catching color schemes, but upon further examination, it shares data that, although about other people, will make you consider your own use of time and technology. “I’m not naive about data privacy,” she says in the TEDx Talk, referencing various ways companies gather information about you. “My sense right now is, they measure me, now I measure me. You have data; I have data. Fight back!” Frick does just that, and makes it a whole lot of fun in the process.

HIGH LINE ART: SUMMER 2015

New book looks at history of art and performance on the High Line

New book HIGH ART: PUBLIC ART ON THE HIGH LINE looks at history of art and performance on repurposed elevated railway

The High Line
Eleventh Ave. from 34th St. to Gansevoort St.
Open daily, free, 7:00 am – 11:00 pm
www.thehighline.org
a walk across the high line, summer 2015

The High Line itself is a glorious work of art. The transformation of the abandoned West Side elevated railway into a public park thirty feet aboveground, weaving from Thirty-Fourth St. and the West Side Highway to Gansevoort St. by near the entrance to the new Whitney, has led to what has deservedly become one of the city’s must-see, most picturesque locations, a place for plants and trees, food and drink, rest and relaxation, and site-specific public art. In her opening essay in the lovely book High Art: Public Art on the High Line (Skira Rizzoli, May 2015, $45), High Line Art curator and director Cecilia Alemani describes the values she has instilled in the art program: “a dedication to bringing important contemporary art to a wide and diverse audience; a desire to surprise viewers with artworks that utilize public channels of communication in new and challenging ways, prompting them to question the role and function of images in public space; and a conviction that artworks are first and foremost sites of encounter and exchange of opinions and experiences.” The full-color book details the history of art on the High Line, which continues to thrillingly achieve Alemani’s goals, from group shows and film screenings to live performances and participatory events — many of which have been covered here on twi-ny — from Sara Sze’s “Still Life with Landscape (Model for a Habitat)” and Stephen Vitiello’s “A Bell for Every Minute” to Trisha Brown Dance Company’s Roof Piece and Alison Knowles’s “Make a Salad.” The large-size paperback also includes a round-table discussion between Alemani and several other curators of public art that takes a fascinating view of how the discipline is changing and how the art is commissioned and perceived. “We want to bring museum-quality works to the High Line and to make them available to our visitors, free of charge,” Alemani tells fellow curators Nicholas Baume, Sara Reisman, Manon Slome, Nato Thompson, and moderator Renaud Proch. “As simple as it sounds, this is a vision that usually resonates with many supporters who share with us a belief in art not only as a form of civic responsibility but also as a basic right that should be equally available to anyone.”

Visitors are invited to contribute to Olafur Eliasson’s “collectivity project” on the High Line (photo by twi-ny/mdr)

The current art on the High Line is representative of Alemani’s mission. Starting on the north side, Adrián Villar Rojas’s “The Evolution of God” (through July 31) comprises thirteen cement and clay blocks that have been slowly breaking apart and disintegrating since September 2014. Embedded at different levels in the blocks, which are just to the inside of the walking path, are such artifacts as sneakers, bones, and clothing, mimicking an architectural dig that is evolving; meanwhile, new growth is popping up in the blocks’ crevices, signaling life among death, like the High Line itself. “Panorama” (through March 2016) consists of works by a dozen artists that meld into and comment on the High Line’s natural and constructed environment. While “The Evolution of God” falls apart, Olafur Eliasson’s “The collectivity project” (through September 30) rises up, two tons of white Lego bricks that visitors are invited to play with, building imaginary cityscapes amid an area that is seeing actual heavy construction all around its perimeters. Gabriel Sierra’s “Untitled (All Branches Are Firewood)” summarizes the growth of the High Line both physically and in the popular aesthetic, comprising bright yellow measuring sticks that could be seen easily in May but have now been nearly completely overgrown by plants and trees. Kris Martin’s “Altar” turns Jan and Hubert van Eyck’s Ghent altarpiece “Adoration of the Mystic Lamb” into a celebration of New York City as a religion unto itself. Ryan Gander’s “To employ the mistress . . . It’s a French toff thing” is a classical-style bust of his wife’s body and upper torso that doubles as a water fountain in which visitors have to try to catch the water as it streams through the air. (Also watch out for Gander’s bronze wallet and cell phone that were left on a bench, as well as a sound piece, “Zooming Out / Toodaloo.”) Damián Ortega’s “Physical Graffiti” is a trio of tags made out of rebar that use the open air, instead of a city train or wall, as a canvas. Andro Wekua’s arched “Window” overlooking Chelsea Piers has now virtually disappeared behind rising plants. You should be able to find your building in Yutaka Sone’s dazzlingly intricate “Little Manhattan New York, New York,” carved in marble. The hardest piece to locate is Katrín Sigurðardóttir’s ecologically minded “Bouvetoya,” a white blob hanging underneath the High Line as you exit by the Whitney, reminiscent of all sorts of things, natural and unnatural, that grow on the undersides of New York structures.

Trisha Brown Dance Company’s “Roof Piece” has been a highlight of the High Line’s innovative performance art programming (photo by twi-ny/mdr)

The High Line has also become home to exciting live performances. Last week, Francisca Benitez’s “As you lean on me and I lean on you, we move forward” combined sign language and improvisation in three chapters in three locations on three different nights. This week Aki Sasamoto’s Food Rental moves into the elevated park, taking place July 21-23 at 7:00 at the Rail Yards by the Thirtieth St. & Eleventh Ave. side. The Japan-born, New York City-based Sasamoto, whose theatrical installation “Strange Attractors” was presented at the 2010 Whitney Biennial, will be serving “micro performances and playful narrative demonstrations” from a specially built food cart, doling out unusual little plays with unexpected sets and props. Admission is free, and no RSVP is required. Afterward, you should check out the latest film screening at High Line Channel 14 in the Fourteenth St. Passage, “Before the GIF,” a series of old-style animation works by Nathalie Djurberg and Hans Berg (I’m a Wild Animal, I’m Saving This Egg for Later), Kota Ezawa (Take Off), Lauren Kelley (True Falsetto), Allison Schulnik (Eager), SUN Hun (Shock of Time, People’s Republic of Zoo), and Keiichi Tanaami (OH! YOKO!). In her High Art essay, “The Seriousness of Play: Performance on the High Line,” Adrienne Edwards writes, “Performance on the High Line is an aleatory collision of chance and unanticipated experiences that is the very pulse of the art form itself. Artists and audiences alike are immersed in the unknown possibilities of the bucolic park and its circumferential stages, which enable encounters in the realm of the swerve, which is to say that performance in this particular vector has a unique, more experimental valence, one in which the artists realize a space of the commons through fleeting structures of social choreography.” Yes, a walk across the High Line itself is like performance art, a social choreography unlike any other in this city filled with public art and social choreography.

PIERRE HUYGHE AT MoMA AND THE MET

Pierre Huyghe’s Met Garden Rooftop Commission melds magic and science, ecology and archaeology (photo by twi-ny/mdr)

PIERRE HUYGHE: THE ROOF GARDEN COMMISSION
Metropolitan Museum of Art, Iris and B. Gerald Cantor Roof Garden
1000 Fifth Ave. at 82nd St.
Daily through November 1, recommended admission $12-$25
212-535-7710
www.metmuseum.org
rooftop slideshow

Native Parisian Pierre Huyghe is having quite a summer, with installations and films on view at both MoMA and the Met. Through November 1, his site-specific Roof Garden Commission at the latter will slowly devolve, affecting the surrounding cement slabs and dirt underneath it. A curious aquarium that seems to leak water, the piece resembles an architectural dig of sorts, an intervention on the popular Met roof that offers spectacular vistas and in past years has featured works by Jeff Koons, Ellsworth Kelly, Roxy Paine, and Dan Graham. Inside the aquarium, the 2002 Hugo Boss Prize winner has placed a large boulder of Manhattan schist that somehow is floating (perhaps referencing Koons’s basketballs?) along with some living lamprey and tadpole shrimp. Meanwhile, creatures are turning up in the mini-swamps that spring up amid the dirt and water around the central fixture as the paving stones are upended because of the evolving damage. (The water is not actually leaking from the fish tank but dripping separately.) Huyghe also works in some additional magic into his science-and-art environment; the aquarium occasionally clouds up so visitors can temporarily not see inside it. The ecological, archaeological work feels right at home amid the views of Central Park; as Huyghe notes in the small exhibition catalog, “Walking through Central Park, you realize that all events there — the stone, the frozen lake, the plane overhead, the maintenance worker — are equally necessary. The important thing is not necessarily the big event. There is an ecology in the broadest sense of the word; different states of life, each element playing a role — even sometimes antagonistically.”

Pierre Huyghe, video still, HUMAN MASK, 2014 (photo courtesy of the artist, Hauser & Wirth, London, and Anna Lena Films, Paris)

UNTITLED (HUMAN MASK) (Pierre Huyghe, 2014)
Metropolitan Museum of Art, Gallery 916
1000 Fifth Ave. at 82nd St.
Daily through August 9, recommended admission $12-$25
www.metmuseum.org

Inside the Met, in Gallery 916, Huyghe’s intriguing nineteen-minute Untitled (Human Mask) is screening through August 9. The 2014 film follows what appears to at first to be a young girl as she wanders through an abandoned restaurant in Japan. However, the star is in fact a macaque monkey in a wig and a smooth, expressionless Noh-like white mask, inspired by the YouTube clip “Fuku-chan Monkey in wig, mask, works Restaurant!” Huyghe, who has worked with animals in masks before, shot the film in Fukushima shortly after the 2011 earthquake and tsunami. The monkey, one of the actual waitresses from the Kayabuki sake house in the viral video, makes her way through the restaurant as if wandering in a postapocalyptic landscape, evoking evolution and what humanity hath wrought on the earth. Despite the mask covering her face, she appears filled with emotion as she looks out the window and dreams of a green forest. It’s an eerie, affecting film that serves as a fascinating companion piece to Huyghe’s rooftop installation. On July 24, MetFridays — Conversation with an Educator will delve deeper into the work in an interactive dialogue with museum education assistant Marianna Siciliano.

Pierre Huyghe. Untilled (Liegender Frauenakt) [Reclining female nude]. 2012. Concrete with beehive structure, wax, and live bee colony; figure: 29 1/2 x 57 1/16 x 17 11/16" (75 x 145 x 45 cm), base: 11 13/16 x 57 1/16 x 21 5/8" (30 x 145 x 55 cm), beehive dimensions variable. The Museum of Modern Art, New York. Purchase. © 2015 Pierre Huyghe

Pierre Huyghe, “Untilled (Liegender Frauenakt) [Reclining female nude],” concrete with beehive structure, wax, and live bee colony, 2012 (The Museum of Modern Art, New York. Purchase. © 2015 Pierre Huyghe)

PIERRE HUYGHE: “UNTILLED (LIEGENDER FRAUENAKT)”
Museum of Modern Art
The Abby Aldrich Rockefeller Sculpture Garden
11 West 53rd St. between Fifth & Sixth Aves.
Through August 15, $25 (including admission to galleries and film screenings)
212-708-9400
www.moma.org

Meanwhile, over at MoMA, another outdoor sculpture incorporating living creatures and an indoor film by Huyghe are being highlighted. MoMA is unveiling its recent acquisition, Huyghe’s 2012 “Untilled (Liegender Frauenakt),” through August 15 in the Sculpture Garden, a reclining female nude whose head is a live bee colony. The work references classical Greek statuary (although it was actually cast from a bronze by Max Weber) as well as such concepts as the hive mentality and the controversy over the importance of the survival of the bees in relation to the future of the planet. The Italian honeybees have been overseen by Manhattan beekeeper Andrew Cote since April, and they’ve been getting busy under a shady tree in the garden. Cote and MoMA expect the colony to reach as many as 75,000 bees at its densest point, meaning they might provide a little extra buzz to the upcoming Summergarden: New Music for New York concerts in the Sculpture Garden on July 19 & 26.

The Host and The Cloud. 2009–10. France. Directed by Pierre Huyghe. Courtesy the artist and Marian Goodman Gallery, New York

Pierre Huyghe’s 2009–10 THE HOST AND THE CLOUD will be shown at MoMA July 14 & 16 (photo courtesy the artist and Marian Goodman Gallery, New York)

MOMA PRESENTS: PIERRE HUYGHE’S THE HOST AND THE CLOUD
MoMA Film, Museum of Modern Art
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th St. between Fifth & Sixth Aves.
Tuesday, July 14, and Thursday, July 16, 7:00
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk and online beginning at 9:30 am
212-708-9400
www.moma.org

The very welcome Huyghe infestation continues with two screenings of his rather cerebral 2009–10 film, The Host and the Cloud, on July 14 and 16 at 7:00 in the research and education building. The two-hour depiction of a controlled experiment is set in the abandoned Musée National des Arts et Traditions Populaires, focusing on the Day of the Dead, Valentine’s Day, and May Day, as different forms of entertainment, ritual, and political actions are performed over the course of one year by characters wearing LED masks. As always, Huyghe melds fiction and reality as he explores ethnographic representation. The official description notes, “Navigating through history within the museum, a group of people is exposed to influence, live situations that appear accidentally, simultaneously, or without any sense of order in the building. Nothing that takes place is staged. People can imitate, repeat, or transform these situations endlessly to variable intensity.” The July 14 show will be introduced by MoMA curators Stuart Comer (Department of Media and Performance Art) and Laura Hoptman (Department of Painting and Sculpture), while the July 16 screening will be introduced by Artist’s Institute director and curator Jenny Jaskey.

TWO EVENINGS OF FILMS WITH YOKO ONO

RAPE will be the focus of one of two special evenings in which Yoko Ono will screen and discuss her film work

MoMA Film, Museum of Modern Art
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th St. between Fifth & Sixth Aves.
Monday, July 13, and Wednesday, July 15, 7:30
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk and online beginning at 9:30 am
212-708-9400
www.moma.org

MoMA’s excellent “Yoko Ono: One Woman Show, 1960–1971” sheds new light on the seminal period of the Tokyo-born multimedia artist’s career, comprising music, photographs, sculpture, interactive performances, memorabilia and ephemera, paintings, films, and instruction pieces. “Ono’s art from this period is run through with a complex interplay between her own absence and presence,” Klaus Biesenbach writes in the extensive exhibition catalog. “Over time, Ono was able to turn her complex handling of artistic presence and absence into a sophisticated treatment of a public image, which allowed her to reach a broad audience with her artistic and political messages.” The artist will be present at MoMA this week for a pair of special presentations of her films and videos. On Monday, July 13, “An Evening with Yoko Ono and Chrissie Iles” will explore Ono’s musical oeuvre through well-known conceptual films and rare footage, followed by a discussion between Ono and Whitney curator Chrissie Iles. On Wednesday, July 15, “An Evening with Yoko Ono and Alexandra Munroe” examines Ono’s 1969 feature-length collaboration with husband John Lennon, Rape, along with the shorts Film No. 4 (Bottoms) and Takahiko Iimura’s Ai (Love), followed by a conversation between Ono and Guggenheim senior curator Alexandra Munroe, who refers to Ono as “one of my dearest friends. Whether sitting around a kitchen table or in more canonized theatres, at this point in our relationship, the most valued time I spend with her are the conversations we have together.” In the catalog, Clive Phillpot explains, “Lennon biographer Ray Coleman claimed that [Rape] ‘parodied the story of the Beatles’ escalator to success,’ but it is much more likely that it reflected what curator Chrissie Iles described as ‘the tension and fear felt by Ono and Lennon as the intrusive press and public attention generated by their fame became increasingly harder to bear.’” The exhibition itself includes such marvelous Ono films as Fly, Cut Piece, Eyeblink, and Film No. 5 (Smile).

JULIE TAYMOR: REMOVING THE MASK

Julie Taymor will talk masks at the Rubin with Morgan Stebbins on July 9 (photo by Brigitte Lacombe, 2010)

TALK WITH JUNGIAN ANALYST MORGAN STEBBINS
Rubin Museum of Art
150 West 17th St. at Seventh Ave.
Thursday, July 9, $30, 7:00
212-620-5000
www.rmanyc.org

The Rubin Museum exhibition “Becoming Another: The Power of Masks” is a splendid collection of religious, cultural, and theatrical faces that people throughout the centuries have worn, from Japan, India, Bhutan, Alaska, British Columbia, Russia, Nepal, and other locales. Not part of the collection are the classic Greek comedy and tragedy masks, so essential to Western drama, depicting Thalia and Melpomene, but on July 9, they will all come together for “Julie Taymor: Removing the Mask,” when award-winning theater veteran Julie Taymor sits down with Jungian Analyst and archetypal symbols specialist Morgan Stebbins for an illustrated talk. Taymor has directed many a Shakespeare adaptation for stage and screen in addition to The Lion King on Broadway and the films Frida and Across the Universe; the New York-based Stebbins has previously been at the Rubin for talks with Meredith Monk and Billy Corgan. Also in conjunction with the exhibition, the Rubin’s Cabaret Cinema series “Movie Masks” will screen such films as The Princess Bride, Phantom of the Paradise, The Face of Another, and Witness for the Prosecution on Friday nights, with an all-day art workshop and tour on July 11.